Transformasi memiliki arti perubahan bentuk dan secara lengkap merupakan perubahan fisik maupun nonfisik (bentuk, rupa, sifat, fungsi, dan lain-lain). Transformasi dimaksudkan baik perubahan yang masih menunjukkan benda asalnya maupun perubahan yang sudah tidak memperlihatkan kesamaan dengan benda asalnya. Arus globalisasi dan hegemoni yang terjadi pada perubahan musik Dol sebagai musikalitas ritual Tabot digunakan secara sengaja untuk hiburan, kreativitas seniman, pencitraan, pendidikan, dan pariwisata. Fenomena yang terjadi dalam waktu yang panjang dan bertahap-tahap, bersifat linier dan hierarkis, dari sakral ke sekuler atau profan (komodifikasi), dari idealisme tradisi ke idealisme industri dan pencitraan (ekonomi), dan dari tujuan ke pesanan (kreativitas). Metode yang digunakan dalam penelitian ini adalah metode kualitatif. Teori yang digunakan untuk menganalisis permasalahan yaitu teori hegemoni, teori budaya populer dan teori praktik sosial. Hasil penelitian pengaruh globalisasi dan hegemoni pada perubahan musik Dol dari sakral ke sekuler atau profan maupun sebaliknya yang terjadi dalam masyarakat Bengkulu menyebabkan perubahan (motivasi dan stimulasi) ini dapat diterima oleh masyarakat dan bisa menyatu dalam kehidupan bermasyarakat. Pengaruh globalisasi dan hegemoni pada perubahan musik Dol menjadikan kesenian ini sebagai industri budaya, materi kreatifitas seniman, pariwisata, pencitraan dan inovasi pada pendidikan. Musik Dol tumbuh menjadi kebudayaan seni pertunjukan baru yang menggeser keberadaan pesta rakyat ritual Tabot pada saat ini. Hal ini tampak jelas dalam perkembangan musik Dol semakin meluas secara kuantitas dan kreatifitas.Transformation signifies meaningful change in form and is a complete physical and nonphysical reconfiguration (form, likeness, nature, function, etc.). Transformation is representative of both intended change that is still indicative of the origins of an object and the changes that are not indicative of showing any similarity with the object in its original form. The dynamics of globalization and hegemony that have affected change in Dol music as Tabot ritual musicality is used deliberately for entertainment, artist's creativity, imaging, education, and tourism. Long-term and gradual phenomena are linear and hierarchical, from sacred to secular or profane (commodification), from idealism to industrial idealism and imaging (economy), and from purpose to order (creativity). The method used in this research is qualitative method. The theory used to analyze the problems of hegemony theory, popular culture theory and social practice theory. The result of the research of the influence of globalization and hegemony on the musical change of Dol from sacred to secular or profane and vice versa that happened in Bengkulu society caused change (motivation and stimulation) that is accepted by society and can be instrumental in united society life. The influence of globalization and hegemony on the change of Dol music makes this art take form as cultural industry, artistic creativity, tourism, imaging and innovation in education. So Dol music becomes an icon of Bengkulu Province and flourishes into a new performance art culture that shifts the existence of Tabot ritual folk feast. This is evident as the development of Dol music is widespread in quantity and creativity.
This study has discussed about the development of traditional art in Probolinggo or its called Pendalungan art in 1984-2018. Traditional art from Probolinggo, which not widely known by the people has experienced revival through several periods of years which are supported by social community until nowadays. The formulation of the problems of the study are, (1) How are the process of developing Pendalungan art in Probolinggo?(2) What are supporting factors for the development of Pendalungan art in Probolinggo? (3) What are the implications of the development of Pendalungan art in Probolinggo ?. This study used cultural history method, and historical theory of Ida Bagus Sidemen and social science theory namely Rhole Teory by Dwi Narwoko and Bagong Suyanto were applied.The results of this study revealed that there were several roles carried out in the community elements in developing the traditional art in Probolinggo to find and preserve the identity of Probolinggo art in the midst of other arts in this area. Along the time, Pendalungan Arts finally has found the lines, namely Pendalungan Probolinggoan which consists of various kinds of art.
Originally, Dol music was used as means of religious musicality to spread Moslem religion in Bengkulu. As time goes by, through the process of acculturation and assimilation, Dol music becomes a sacred musicality to accompany the ritual procession of Tabot, Sipai tribe (Tabot family) in Bengkulu city. Globalization and the interference of power bring the change complexity of Dol musicality as Tabot ritual music in the socio-culture of Bengkulu society. The aim of this research is to understand and explain the occurrence of Dol music transformation and its implication to the socio-cultural system in Bengkulu society. The approach implemented is cultural studies with qualitative analysis technique. It is applied critical and popular culture theories to uncover the focus of the problem in this study. The result shows that Dol music undergoes musical transformation as Tabot ritual music into a secular and profane music, resulting in the expansion of function and form. Therefore, Dol music is legitimized into traditional music icon of Bengkulu, in a wider and freer scale, shifting the Tabot’s popularity and sacred rituals as the “Heritage of the World in The Trust” of Bengkulu’s folk art culture. This has implications for all socio-cultural joints of the people in Bengkulu city, triggering a qualitative change in socio-cultural evolution to the form of divergence. It means that Dol music was originally a sacred/ religious music tradition, developed following the increasingly complex transformation as a mass culture in Bengkulu.
For the Balinese, customary villages are social realities that are accepted as given. It exists as a social institution that competes with existing institutions, especially government agencies such as the service village. Its existence is only felt when it clashes with rights that intersect with heterogeneous community life in ethnicity and religion. In this study, the customary village is understood as an important institution that must be given space because of the history and also the role that has been played in maintaining the security and comfort of Bali. But in the perspective of minority groups, its presence becomes a hegemonic institution that threatens the diversity of Balinese society.Through a deconstruction approach, customary villages in Bali Province Regulation No. 4 of 2019, is expected to continue to provide benefits to build togetherness in plurality.
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